Word: ballets
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...Vlamink--they are all there. Three very gentle and humourous Dubuffet's, a marvelous Miro bull, Max Ernst's flowers with sea-shell impressions for petals are examples of traditionally but well represented artists. Picasso steps out of the norm with a stage curtain painted for Diaghilev's Russian Ballet, recapturing Paris's sense of community, in contrast to the unique achievements of each artist separately...
Another novelty of the City Ballet season was the premiere of Stravinsky: Symphony in C by John Clifford, 20, one of the company's most promising male dancers. While Clifford still has much to learn about the techniques of polishing choreography, the hot wire of raw talent ran through the ballet. His infectious and sportive movements reflected the febrile delirium of young dancers in love with being young, in love with being dancers...
Across the Lincoln Center Plaza at the Metropolitan Opera House, the Royal Ballet presented a striking contrast in style and temperament. The City troupe evokes the high-rising glitter of curtain-wall skyscrapers; the Royal reflects the spacious, gracious luster of Britain's princely mansions. Choreographically, the City Ballet shines best in one-act works. The Royal prefers full evening ballets in the classic tradition, like Kenneth MacMillan's fustian Romeo, and Juliet, Sir Robert Helpmann's production of Swan Lake, and Rudolph Nureyev's Nutcracker...
...tandem with Margot Fonteyn, still a ballerina of faultless style at the age of 49. Nureyev also had a hand in the choreography of three productions that the Royal brought with it. The best were derivative-works restaged from the repertory of his former company, Russia's Kirov Ballet. By far the worst was his muddied Freudian version of The Nutcracker, in which Drosselmeyer, with a Humbert-Humbert lurch, is transformed into the prince who pays court to the Lolita-like moppet Clara. Although a bit heavier than when he first jetéed his way to the West...
...Bolshoi Ballet detailed a 39-star detachment from its massive, 250-strong company to occupy the Metropolitan Opera as soon as the Royal Ballet left. Leading the company was Maya Plisetskaya, a ballerina assoluta of the broad, open Moscow style, which makes the sheer physical act of moving beautifully through space look like a natural way of life. The Russians offered virtuoso, bravo-catching nights of pinpoint turns, rock-steady balances and astronautic high leaps. But there was little to praise in the undernourished bits, snippets and shards of 19th century choreography that provided the vehicles for the Bolshoi...